(Note: In Europe this album is obtainable through Soundtracks direct or
through Prometheus records) [60:48]

This oddball miniseries followed a real estate tycoon in search of the real
Frankenstein's monster as a trophy. How does Hollywood buy these pitches?
How does a composer see a pitch like that as full of musical opportunity?
However these things come to be the bottom line is that Davis has written
a cracking good tongue-in-cheek horror score. We know this guy to be well
versed in film music genre. His Bound score is a brilliant take on Hitchcockian
thriller stylings. For this, it's a splendid fusion of choral cliché
with dissonant drama. Sort of Omen meets Matrix. There are
fun parodies (one assumes!) throughout, such as the taster of O Fortuna in
the "Main Title". Thankfully that doesn't overshadow what is a rather nice
main theme. Its development is always interesting, especially in a melting
pot cue such as "Dog Speed", with its twisting journey through each of the
score's principal aspects. There's a curious disparity between the Gothic
orchestrals and pulsing synths in certain places from one cue to the next,
but it is a very nicely coherent listening experience on the whole. The pudding
proof that this is to be taken less than seriously is the humorous track
titles. If the series' pitch seem shard to swallow, how about "She's Not
Hungary for Food"?